THE RUSSIAN ACADEMY OF ARTS IN THE XXI CENTURY

Imperial Academy of Arts – All-Russian Academy of Arts – the Academy of Arts of the USSR – Russian Academy of Arts. Here are main stages of its history. The Academy is “the highest state art and scientific organisation of the Russian Federation”, it’s gained a status of especially valuable object of the cultural heritage in Russia. In 1997, after Zurab Konstantinovich Tsereteli was elected the head of the Academy of Arts, serious changes in the oldest state institution have started.

After establishing of the Academy of “three noblest arts” (Sculpture, Painting, and Architecture) in 1757, the basis for the development of the Russian art was laid down. Today the Russian Academy of Arts is at the verge of its 250th anniversary. It’s high time to recall the past, analyse the present and plan the future since two centuries and a half is quite a long period of time. Many achievements of the Russian culture in XVIII–XXI centuries have been connected with its activities. It’s due to the Academy, the Russian national art classic has been born which we can be proud of today.

Zurab Konstantinovich Tsereteli, President of the Academy, tells about the activities of the Russian Academy of Arts to the readers of “Our Heritage” magazine.

– What are the tasks the Russian Academy of Arts is to solve in the beginning of the XXI century?

– The Academy has enough strength and experience to meet all challenges of the new time. Our permanent every day care is to assist the art of painters and art critics, professional preparation of painters, sculptors, architects, designers, historians of arts, scientific and methodical organisation of high and secondary education in Russia, preparatory of scientific and teaching human resources, development of art links with the academies of arts abroad, exhibition activities and many else. But there are other tasks as well, I would call them global ones. For example, only recently we celebrated a very important for all of us jubilee data – the tercentenary of St. Petersburg. Now we are to be ready to celebrate in an appropriate manner the 250th anniversary of the Academy of Arts. Two jubilees are closely connected because St. Petersburg is a historical motherland of our Academy. A number of educational, scientific and museum institutions of the Academy of Arts function in the Northern Capital – St. Petersburg State Academic Institute of Painting, Sculpture, and Architecture named after I.E. Repin, St. Petersburg State Academic Art Lyceum named after B.V. Ioganson, Scientific and Research Museum and its affiliates – Memorial Estate of Ilya Repin “Penaty”, memorial flats of A.I. Kuindzhi, P.P.Chistyakov, and I.I. Brodskyi.

– How did Academy prepare for the 300th anniversary of St. Petersburg?

– Just before the jubilee celebrations, restoration works were finished in the historical building of the Academy on the University Embankment of the bank of the Neva river. The facades, the interiors of the entrance hall, the gala suite of halls, the Catherine Hall, the Titian and Rafael Halls, the Round Conference-Hall – the main one among gala halls of the Academy – have been restored already. The gild cross has been erected under the Home Church of St. Catherine. More is coming: reconstruction of Smelting House where the Sculptural Department workshops are situated, and of the battle-painting studio, as well as restoration of the Saloon on the first floor where students’ exhibition are being held. The Round Courtyard is needed to be taken care of and the facades which arrange it are under reconstruction now.

– Monument to Ivan Shuvalov who initiated the foundation of the Academy of Arts and was its first curator has been installed in the courtyard, hasn’t it?

– Yes, the composition was installed in its centre. The solemn opening and consecrate of the monument happened on May 29th, 2003. The ceremony was attended by the RF President Plenipotentiary in the North-Western District Valentina Matvienko, the Mayor of St. Petersburg Alexander Yakovlev, and other honorable guests. A model of this sculpture has been exhibited in Moscow for a few years by now, in the Gallery of Arts on Prechistenka Street.

– The statue of arts and crafts patroness, goddess of state wisdom Minerva appeared again on the dome of the front entrance the same day?

– This composition has rather interesting and complicated fate. Initially that was the sculptural group “Minerva crowning arts and sciences”. It was created by a well-known Russian sculptor I.P. Prokofiev in 1785. Master I.F. Dunker shaped the group out of lime-wood. In 1819, the decayed wooden sculpture was dismantled after the heaviest storm. The second birth of “Minerva” took place only in 1882 – the bronze composition by Professor of Sculpture A.R. Bo, who won the contest, decorated the dome at that time. But it was damaged severely after the fire in 1900. Now, almost a hundred years later, “Minerva” crowns the building of the Academy for the third time. Let’s hope that for long.

– What else, besides the opening of these two important sculptural compositions, took place during the jubilee celebrations of the city?

– The Russian Academy of Arts Presidium held its festive meeting in the Conference Hall, Academic awards were handed over, and there was the opening of the exhibition of artworks from the Academy’s Scientific and Research Museum collection which was demonstrated in the main halls.

– Were these the paintings exhibited in Moscow in the Gallery of Arts of Zurab Tsereteli on 19, Prechistenka?

– The same and many others. As you know, the Russian – Imperial Academy of Arts created the richest museum collections within two centuries and a half of its activities: dozens of thousands of national and foreign art works, among which there are paintings and graphic art, the most valuable mosaics, architectural models and drawings. Unfortunately, till recently, they spent quiet life in the Academy’s museum funds slowly being destroyed. With the opening of a new museum and exhibition complex in Moscow, on Prechistenka, we’ve got an opportunity to show these outstanding art works to the wide circle of art lovers and to restore them. The Russian Academy of Arts has worked out a programme which allows to become familiar with the collections of Scientific and Research Museum and its affiliates – Memorial Estate of Ilya Repin “Penaty”, memorial flats of A.I. Kuindzhi, P.P.Chistyakov, and I.I. Brodskyi. In December 2002, exhibition “Russian and West European Painting from the Collection of Scientific and Research Museum of the Russian Academy of Arts” was demonstrated in the Gallery of Arts which showed art works from St. Petersburg collections, a catalogue of the exhibition was printed. And now these art works have come to St. Petersburg and become a part of a larger exhibition dedicated to the anniversary of this great city.

– Is it true that besides Scientific and Research Museum with a wonderful collection of art works, the Academy possesses a unique Library?

– This is a subject for a separate conversation because the Library of the Academy is really unique. It’s nearly of the same age as the Academy itself. The first publication for the Library was bought in 1758. Now the number of books is more than half a million. Most of them are publications regarding theory, history, and practice of pictorial art. At the same time, within many years, the fund has been increased due to engravings, watercolours, architectural drawings, plans, maps, and rare photographs. Of course, some of it has been passed on to the Museum of the Academy but still engravings by Rembrandt, Piranesi, Durerus, Makhaev, Chemesov and many others are in the Library today.

– To what extent present graduates of the Institutes of the Academy in Moscow and St. Petersburg follow the classical traditions?

– The national classical art is a many sided phenomenon. Today, in the beginning of the XXI century, it includes search in totally different trends, from Alexander Ivanov to “Bubnovyi Valet”, not to say anything about achievements in the pictorial art during the whole XX century. Innovators and reformists of avant-garde art came out of the classical school. Avant-garde is not always a pointless art. It is art which outstrips the time. To go in avant-garde means to be in front. We do a lot to let the modern academic school not go behind but to outstrip the time. The experience gained during the whole period of the Academy’s existence, from XVIII till XXI century, has to support us. If this is the case, then we will go forward not loosing anything.

– How to reach the connection of traditions and new search in the educational process?

– To do that, we have methods and programmes which have been worked out by the best national masters – teachers and practicing artists. The main structure is already in place. Its advantages have been confirmed by the time. I don’t exaggerate saying that paintings by our artists evoke adoration in the world. We receive offers on students’ exchange, foreign students unchangeably study in our institutes. Of course, the time brings its corrections, we need to reconsider things, to improve them. And this does not mean at all that the whole school has become out-of-date. Sometimes it’s enough to make just slightest changes to have a very effective result.

– What role in educational process play by new museums set up due to your initiative in Moscow? I am talking about the Moscow Museum of Modern Art and the Gallery of Arts by Zurab Tsereteli?

– Let’s start with a sort of excursion in the past. As you know, collection of the Academy’s Museum was being formed simultaneously with the beginning of activities of the Imperial Academy.The collection of paintings, drawings and engravings passed to the Academy by the count Ivan Shuvalov in 1758, served as a base for the Museum collection. Due to his initiative, the collection was regularly enriched by moulds of the ‘antique’. Make a note that from the very beginning the museum was considered to be an inalienable part of an educational institution. The museum exists today – students of the Repin Institute work systematically in its departments. After the opening of the Gallery of Arts on Prechistenka Street, students and pupils of Lyceum and art school in Moscow have got an opportunity to be acquainted with this excellent collection.

So, our museums have been set up for education including art education.

The Museum of Modern Art has been conceived as a large art centre with different functions and opportunities. Besides exhibition space it includes an art library, scientific and bibliographic archive, photo- and video library, restoration workshops, and a park of sculptures. ”Free studios” Art School aimed at additional education operates within the frames of the Museum. The museum employees are professional art critics, there are graduates of the Academy’s Institutes among them, they deliver lectures to visitors. Exhibitions of painters of absolutely different art trends take place here on a permanent basis. In the nearest perspective, the Moscow Museum of Modern Art can become one of the centers for intercourse of young art people. Already now many artists attend the museum to become familiar with the history and innovations of the art world, for many of them the Museum becomes a place for exhibiting of their own paintings. Students of art institutes come for a probation period here, they conduct excursions, gain an experience of scientific and theoretical as well as restoration work, they get to know art while working with original art works of superior artists.

The opening of large museum and exhibition complexes equipped in accordance with the latest technologies help in reality to solve a job problem for young art people by giving an interesting and perspective job to graduates by their profession and a chance to demonstrate their paintings.

As for the Gallery of Arts, it’s a whole “Academic Quarter” designed for demonstration of Russian and international exhibitions of any scale. Besides that, the establishing of such a complex gives new opportunities not only for art lovers which we are always happy to see in the museums and halls of the Academy but for those who study arts professionally. Students of Moscow schools, Lyceum and institutes come to the new museum to become familiar with the art and for copying lessons. We demonstrate a big collection of antique sculpture modules from the funds of the Pushkin Museum of Fine Arts which could not be shown because of the lack of premises, and now lessons for the beginners take place here. As you see, there is a direct link between our museums and our art education.

– What is the structure of workshops of the Academic Institutes?

– A student work in general classes for the first two years, and starting with the third year he enters a personal studio. Such scheme allows him to choose where to go – to a workshop of easel-painting or a studio of monumental painting, to a studio of a book graphic art or of a poster. A student also can choose a teacher. After two years interval he knows what kind of art is more close to him.

– Who teach in the institutes and Lyceum of the Academy?

– Unique masters, very experienced, original and different which is important – Kurilko-Ryumin, Myulnikov, Kochergin, Nazarenko, Nikonov, Sidorov, Rukavishnikov, Pereyaslavetz and many others. We invite out graduates to teach who usually bring to the life of a school or an institute many precious things – fresh ideas, uncommon views which help to make an educational process more exciting and effective. It’s important for the process to have a wide range of pictorial art trends.Many things depend on the personality of a teacher – he can capture all enthusiasm of students, show them the depth and enigmatic essence of the art. It’s good that teachers have different interests and original manners. Art taste is not an assembling line which stamp equal works and is not barracks. There should be a rational discipline and art environment in which disputes about art are allowed. If people have disputes, they are not indifferent. For example, Leonardo da Vinci had disputes with Botticelli but the significance of their art had not decreased for the art as a whole because of that. A real artist is an individualist to his finger-ends.

If there is a sincere desire to study, there is a discipline. Too many things depend on a student himself. He is open for everything new, and a teacher has to direct him carefully, tactfully, and delicately, to prompt him but not to suppress and not let him develop in an unorganised manner. An institute is a system, an organism after all. There should not be any falls in its activities. Nothing should divert a student from normal studies. That’s why refurbishing in both Academy’s institutes and its hostels is a must, as well as setting up cafes. What do you think? These are vital! We are used to lecture youngsters, call them for something and instruct them. And we have forgotten to take care about them fatherly at the same time. To feed, to arrange, to help with money. To be just attentive to them.

– In the old Academy of Arts there was diversified developed system of encouragement of young talented painters, sculptors, and architects. Does it work now?

– We’ve managed to revive the practice of rewarding the students of the Academic Institutes and Lyceum with “For successes in studies” medals. This medal and its diploma usually are given for the art works made during a year. We are planning to give medal for diploma woks as well. We arrange tours abroad on the exchange basis. We need to support a beginner and not to wait till he becomes old and offended to the whole world. We are to deal with his problems, and notice his successes. And we will have new Rokotovs, Michelangelos, Picassos...

– Why they do not appear today?

– Why do you think there are not any? Because they are not shown on TV and not told about by newspapers? Media reports on only one thousandth part of the life of society. And it’s really immense. What about the fact that reconstruction of paintings and sculptures of the Cathedral of Christ the Saviour in Moscow is the work of graduates of the Academy’s Institutes to a big extent? Quite a few people know about that but this is the fact. I appeal to our art critics all the time to pay more attention to the present day, search and support talented and young artists, analyze their art, tell about them to a wide circle of people. Then a modern history of arts is to be born. By the way, in June, in the Moscow Gallery of Arts on Prechistenka a large exhibition of students’ art works under the title “The Heiresses of the Great Art” devoted to the 300 anniversary of St. Petersburg was opened. It demonstrated the best school and diploma art works by students of the two Academy’s Institutes in different times; due to this, it was possible to find out, for example, what is the difference between Petersburg experience and Moscow one, to access the level of the Academic education, to see the problems which worry young artists. Next year, on a base of the Russian Academy of Arts, there is a plan to hold a World Conference “Science and education in the developing of pictorial art in the XXI century” the necessity of which has been obvious long time ago. This is confirmed by academicians, professors, teachers, practicing painters – all those who are not indifferent to the fate of the national art, the future of young generation.

– Who will participate in the Conference?

– We invite everyone who cares about the importance of keeping the unique traditions of national science and education, about the necessity of developing the experience gained. At the moment the Russian Academy of Sciences and the Moscow State University organise the conference. Recently, in the Russian Academy of Arts, we’ve got good results after a meeting with Yuri Osipov, the President of the Russian Academy of Sciences, and Victor Sadovnichyi, the Rector of the University, regarding the working out of a programme on preparing and holding the Conference. It will involve the whole range of events including an exhibition of the students’ art works which, if everything goes right, will become a mobile. There is plenty of work to do, and it’s important not only to celebrate the anniversary but find means to support national art, art education and science which have always been irresolubly connected with each other. Their strength is in this till today.